影展片单 List of films
一、 心之火▪第三只眼看世界的朱莉戴许 Incandescence ▪ Julie Dash’s Third Eye
1、Daughters of the Dust 尘埃的女儿/ Julie Dash/美国/1991/112min/剧情片
本片是第一部由非裔黑人女性导演拍摄,并且于美国正式戏院做全美映演的剧情长片,被美国国会图书馆收藏,登记为重要的美国文化资产。故事叙述1902年,美国东南方的希岛,当地黑人为前非洲黑奴后代。年轻的族人薇欧拉背弃传统风俗,不顾家族女性长老娜娜的反对,决定要离开居住多年的海岛搬到大陆去。薇欧拉对于要跨海迁移雀跃不已,在临别野餐时,娜娜乞求即将渡海而去的家人,将来在北方不要忘记祖先以及家族的历史。当最后多数的族人都将离家时,现代思潮与传统非洲礼仪产生融合,一部分家族成员也随同娜娜一起留在岛上。故事同时交错在另一位族人尤拉被白人农场主人强暴怀孕,她的丈夫怀疑孩子不是他的而陷入沮丧,而本片说故事的主叙事者,即是在尤拉怀里的婴儿。
影片中有许多伊布海岸的美丽景色,那是家族最早的安身之地。故事情节饶富魔幻写实元素,传统与现代的冲突是贯穿整部影片的主题,更是珍贵的非裔美国文化的视觉再现。导演刻意在影片中多处使用浓重的古拉语土腔,现实、回忆、未来,时空不断跳跃交错的叙事形式,结合了口述历史传统与MV手法,不但追缅先人渡海黑暗的奴隶奋斗历史,景色壮阔的视觉诗篇也呈现出亘古恒新的时代精神。
Daughters of the Dust is a landmark in independent film. Produced in 1991, it is the first feature film by an African-American woman (Julie Dash) to have been showed in cinemas in the United States. Set in 1982, in Sea Island in the South-East of the U.S., it concerns the lives of three generations of women of one family, whose ancestors had been brought there as slaves centuries ago. Despite the opposition of their elders, the women of the younger generation have decided to leave the island where their family has lived for so many years, to go to the North. One of the young women we encounter has become pregnant as the result of a rape. Her unborn child serves as the narrator of this film. The poetic quality of the images, and the rich and lyrical portrayal of reality, have won this film widespread acclaim and recognition, notably at the Sundance Film Festival.
2、The Rosa Parks Story 罗莎帕克/ Julie Dash/美国/2002/97min/剧情片
罗莎帕克在美国南方成长,当时实行黑白隔离政策,表面上声称种族平等,但事实上对黑人极度歧视,因此常起争执。罗莎帕克当时是美国有色人种促进协会(NAACP)的秘书,对此心有所感。一日,她拒绝在公车上将座位让给白人,因此被捕,让该市非洲裔社群发起拒搭公车运动。导演除了呈现政治议题外,同时也刻划罗莎人性化的一面,虽然她的生活受到极大影响,自己和先生失去工作,也遭受白人私刑的威胁,但最后高等法院裁定阿拉巴马州的公车分离政策是违反宪法的,抗争有了代价。本片呈现茱莉黛许一向对非洲裔美国人文化议题的关注,叙事以过去与现在交织,让人得以了解这位人权运动之母的故事。
Rosa Parks grew up in the Southern states of America, at a time when the policy of racial segregation was in place. On the surface, it was claimed that this meant racial equality, but in fact this system was deeply discriminatory towards black people, leading to widespread discontent and anger. At that time, Rosa Parks was a secretary to the NAACP. One day, she refused to give up her seat on the bus to a white person, and was consequently arrested, leading to the famous bus boycott which occurred in protest. From what followed, the Human Rights movement was born. Apart from presenting political topics, the director also looks at Parks on a personal level. With beautiful cinematography and a narrative that interweaves past and present, this film enriches our understanding of this mother of the Human Rights movement.
3、Incognito 隐姓埋名/ Julie Dash/美国/1999/95min/剧情片
这是一部交织记忆与幻觉的悬疑故事,令人毛骨悚然。艾琳无意间目睹了一宗恐怖杀人命案的现场,因为来不及逃跑,而被杀手挟持。虽然艾琳在歹徒欲对其性侵犯的千钧一发之际逃离魔掌,但被胁迫的过程却成了甩不掉的恶梦。歹徒多年后出狱,将艾琳视为复仇计画的目标之一。就在敌暗我明、危机四伏之际,即将共同步入礼堂的未婚夫却露出了自私自利的真面目,以往的嘘寒问暖证实都只是虚情假意。父亲雇用的保镳「猎人」虽然保护了艾琳的安全,但却也介入了她的私生活,一如艾琳父亲对她的照顾和控制。机敏的型男保镳让艾琳有所倚恃,但危机解除的真正关键,却另有其它……。 茱莉黛许在《隐姓埋名》中以实验性手法,加入了许多非洲传统文化的意象,让惊悚片的类型公式在这里出现了不小的变调。透过刻意安排的摄影机取镜角度与剪接方式,彻底展现独特的视觉风格。而在叙事中,黛许延续她对黑人女性自主性的关注,同时不着痕迹地批判了男性文化的控制欲。片中以黑人为主的演员阵容,再次彰显了茱莉黛许希望藉由自己的创作增加黑人演员曝光率的企图。
Incognito is an innovative take on classic genres. When Erin Courtland, a wealthy young female executive, is raped, the man who attacked her evades justice and is released, only to begin stalking his victim. Unable to get the support she needs from her weak-willed fiancé, she engages a bodyguard to protect her from her attacker’s threatening advance. In the background to the ensuing romance, Dash incorporates glimpses of issues particular to African-Americans, such as social unrest and sickle-cell anemia.
4、Funny Valentines 另类情人节/ Julie Dash/美国/1999/108min/剧情片
2000 美国黑胶卷奖最佳影片、导演、剧本、女主角、女配角五项入围乔伊丝是一位居住在纽约的非洲裔中年女子,当她发现丈夫一直欺骗她时,于是带着两个女儿离家出走,回到母亲的家园;故事从这开始勾勒出母亲、女儿与姊妹们之间的革命情感,最后,仍闻见了亲情与爱的温暖。本片以家为中心,描写小人物生活的酸甜苦辣,道出家人和朋友密不可分的深切情感;从不断往前走的生活到反思过去,突破现实生活的瓶颈,进而走出创伤的阴霾。导演赋予每个演员对生命的坚持与韧性,让女性不仅局限在「受害者」的角色,而是让她们重新掌握时间、生命与岁月的节奏。
This story of a successful businesswoman who flees a failed marriage in the city to return to the comforts of her family home in the countryside leaves the audience every bit as spiritually replenished as it does the film’s heroine. Casting a warm and loving eye on the elements of home, Dash presents us with a story of such rich detail that she has been hailed as ‘an African-American Matisse’.
5、Love Song 爱之颂/ Julie Dash/美国/2000/88min/剧情片
来自上流社会的黑珍珠卡米拉,爱上了一个和她不同种族阶级的白人蓝调歌手。她陷入两难,不知道自己是否该随着突如其来的爱情翩然起舞,还是依循着众人的期望,按照原订计画嫁给同样是黑人,在上流社会前景一片看好的未婚夫?到底哪一边才是通往幸福的道路?爱上非我族类,是否也是一种背叛?
茱莉黛许以一位中上阶级的黑人女性搭配劳工阶级的白种男性,刻划跨种族的爱情,颠覆如《谁来晚餐》等以黑人男性爱上白人女性的叙事惯例。在这个浪漫小品中,我们看到了种族、阶级、性别三个身分认同彼此之间的交互作用。爱情很多时候不只是爱情而已。《爱之颂》是长期耕耘实验电影的茱莉黛许在主流商业类型中的尝试。透过不同的影片风格,黛许延续她对黑人女性自主性的探讨。与MTV台的合作,找来了九○年代末蓝调节奏小天后Monica主演,也开启了音乐电影的风潮。
Camille Livingston is making her affluent, respectable parents proud. A pre-med student, she plans to marry a ‘nice’ young man and follow in her father’s footsteps, with a medical career and a family. But when she meets Billy Ryan Gallo, jazz musician and college dropout, her world turns upside down, as Camille discovers the disruptive effect of love on the safe existence she had planned for herself. Starring hip-hop artist Monica Arnold, this film has a soundtrack not to be missed.
二、月之晖▪女性与身体 Luminescence ▪ Women and their Bodies
1. 母亲的包袱,女儿的选择(Mother's Way, Daughter's Choice)/ 我谢京子/日本/2009/85min//纪录片
我谢京子的自述纪录片。描写在母亲的教养束缚下,所谓的日本女性传统的刻板印象:与生俱来的坚强毅力与过人的耐力。对抗起社会的体制与刻版的教条文化,导演不仅现身说法,也同时访问移居纽约、数名事业成就过人的日本女性,在她们瘦小的身躯内,深藏了惊人的爆发力,受访女性坚毅的口吻与勇敢的心智精神,在对抗男性与父权、社会主流的同时,女性无畏教条,以个人为单位所透出的张力与影响力,更加显现女性这个性别特有、坚毅且美丽的动人能量。
Why would successful women from the world’s second largest economic power choose to start their lives over in New York City? The documentary “Mothers’ Way, Daughters’ Choice” explores how several Japanese women struggle to reconcile their traditional upbringing and their desire to create unique lives. To understand these struggles, the director, Kyoko Gasha, shows the deep, powerful influences of Japanese culture on her own life. Kyoko also uncovers stories of other Japanese women in New York City, weaving parallel tales of guilt, denial, sacrifice and joy. This is a story of cultures clashing on a personal level.
2. 311生生长流 (311-In The Moment)/ 我谢京子/日本/2011/73min/纪录片
从剧烈的摇晃开始,在公元2011年3月11日,日本东北地区太平洋外海高达芮氏9.0的地震,造成近14,000人死亡,13,000多人失踪,为日本自第二次世界大战以后死、伤人数最多的灾害事件,本片完整记录灾难当下,救灾、防灾、灾后重建等过程。看见人们面对灾难历程创伤后,再度找到希望的可能。
How do you recover from an earthquake, tsunami and nuclear meltdown that, in the span of a few minutes, wipe out members of your family, the town where you live and all that you own? Is a return to anything like “normal” possible? “311: In The Moment” captures the experience of loss on a massive scale by telling very intimate stories of some of the survivors of the March 11 disasters in Northeast Japan. We see the power of nature to completely destroy pieces of civilization, but we also see the power of human will to overcome and endure horrific disaster.
3. 姓越名南 (Surname Viet, Given Name Nam)/ 崔明霞Trinh T.Minh-ha/美国/1989/108min/实验片
采访了五位背景不同的越南女性,其中既有生活在越南北、中,南三个不同地区的本国女性,也有居住在美国的越南裔女子,既谈到她们对越南战争,女性歧视等方面的痛苦记忆,也讲到她们对自己所处社会环境的认识以及对女性解放思潮的理解,而不同年龄不同地域的几个女人看待战后越南社会变化的角度和立场也不尽相同。让观众看到越南复杂的国情和女性真实的生活状况,与美国及其他西方国家所想象的“越南”形成了一个有趣的对话。她把人类学家经常做的实地考察和访问搬上舞台,请人扮演这五个被采访者,扮演者被重新穿着与打扮,这一形式挑战了传统纪录片中所讲究的被采访者的“真实性”和“客观性”。
作为Reflexive纪录片的代表,游走在真实与虚构之间,纪录片一定是真实的吗?真实是选择性的、更新过的、错置的,而话语往往具有策略性。
This film explores the roles of Vietnamese women in society, both in the past, and in the present day. The director makes use of dance, text, ballads and the voices of Vietnamese women who live in Vietnam and America, as a way of challenging official narratives. This work, complex in theory and practice, explores the difficulties these women have in translating, their displaced existence, and criticizes Vietnam’s post-war and traditional ways of life. This film received first place at the American Film Festival, the San Fransisco Contemporary Art Gallery’s (SECA) first prize for cinematic art, and the excellence award at the Mumbai Film Festival.
4. 第四维 (The Fourth Dimension)/ 崔明霞Trinh T.Minh-ha /美国2001/87min/实验片
第四维是一个优雅的冥想涉及时间,旅行,在旅途的庆典仪式。导演崔明霞首次涉足数字视频,解构了仪式的作用传递过去和现在。她解释说,“在他们的广泛的功能中,表现出更明显的位点,包括节日,宗教的仪式和文艺演出,“仪式”涉及的不仅是日常生活中的结构规律,而且在于世界的动态代理。以其茂密的意象,通过移动帧观看日本的文化和礼仪。滑动关闭门窗,揭示出新的前景。
The Fourth Dimension is a journey through the rituals of everyday life in contemporary Japan. In her first foray into the digital medium, director Trinh T. Minh-ha engages with Japanese society, art and culture to explore the relationship between past and present. Ironically, despite the lush scenery and fantastic images the director employs to illustrate her examination of Japan, one of the central themes of the film is the impossibility of truly ‘seeing.’
三、茶之味▪华人导演作品精选 Opalescence ▪ Selected Works by Chinese Filmmakers
1. 老安 (The Love of Mr. An)/ 杨荔钠/北京/2007/87min/纪录片
讲述是北京一位九旬老人老安的故事。老安经常到天坛公园的露天舞场跳舞,并结识了一位姓魏的舞伴。虽然两人各有老伴和儿女,年龄也相差不少,但是他们逐渐 互生好感,生活中相互照顾。一天,老安生病住院,起初小魏经常去探望他,后来直到他出院小魏再也没来探望他,因为小魏突发脑溢血去世了。老安得知这个消息 之后,心情十分沉痛。走出沉重的往事,老安又出现在天坛的露天舞场,他结识了新的舞伴,生活还在继续......
This film, set in Beijing, tells the story of 90-year-old Mr. An, who frequently travels to the Temple of Heaven to dance in the park with his dance-partner Ms. Wei. Although these dance partners already have their own lives, their own spouses, and their own children, they are nevertheless slowly bound together by the mystic chords of friendship. Taking ill, Mr. An is rushed to the hospital. At first, Ms. Wei frequently visits him, but later the visits abruptly stop. Only later does Mr. An learn that Ms. Wei had passed away suddenly from a stroke. Devastated by his loss, Mr. An is smitten with grief, which he only escapes when he returns to the Temple of Heaven, selects a new dancer, and dances again to the song of life that goes on and on…
2. 三世三生聂华苓 (One Tree Three Lives)/ 陈安琪Angela (On-Kei)/香港/2013/98min/纪录片
导演花3年时间,往来两岸三地与美国,记录“世界文学组织之母”聂华苓跌宕起伏的一生,恍如一段三生三世的飘泊旅行,交织出当代交织出了当代海外杰出华人作家的清晰身影与美丽,也刻划了她和诗人伴侣保罗.安格尔至死不渝的坚定情感。
「她家的客厅,是世界华人作家的沙龙。」
「她一生的故事,是一次20世纪的文学壮游。」
「她对伴侣的挚爱,是跨越三生三世的生死不渝。」
This film records the passionate life of Nie Hualing, the mother of the International Writing Program. Her life spanned countries and cultures, weaving the trends of her generation with the beautiful shadow cast by the brilliant Chinese novelists she had come to represent. This film also records her constant love with her partner, the poet Paul Engel, whose love endured until his death. To produce this film, the director spent three years in Mainland China, Hong Kong, Taiwan, and the United States. Her drawing room is the salon for the world’s Chinese writers and her life’s story, in which her constant love for her partner crossed three lives and three worlds unchanging in both life and death, is at once the tale of all of the 20th Century’s literature.
3. 猪肉与月亮 (Pork and Moon)/ 杜晓宇Du Xiaoyu/中国/2013/28min/剧情
影片《猪肉与月亮》讲述一位母亲(艾丽娅饰)与儿子带回家的性格叛逆的女友经过长时间的相处与磨合逐渐彼此理解的故事,影片名中的猪肉意指母亲杨红玉是一名屠宰场的女工,而月亮指的是儿子女友月月。
‘Pork and Moon’ is the story of a mother and son who brings a rebellious girlfriend home. Over a long period, they gradually learn to get along. The ‘pork’ in the title refers to the mother’s job in a slaughterhouse, and the moon refers to the months she spends with her son’s girlfriend.
4. 危巢 (With the Bough Break)/ 季丹Ji Dan/中国/2011/144min/纪录片
北京南郊大兴区原来有许多填埋垃圾的大坑,坑边住着一些拾荒人家。现在,楼群地铁肿瘤一样蔓延过来,垃圾坑被填满,上面霓虹闪烁。仅剩的一间小屋风雨飘摇。影片是小屋中的一家波澜起伏的一年。
季丹导演在拍摄影片的过程中不由自主地感到自己被卷入其中。姐弟三人好像身披着重重罗网,在激流中拼死逆流而上的姿态征服了她。她认为所谓“底层”,比原来想象的广大深邃,它也并不在脚底下的黑漆之处,而就在身旁左近和自己内部。它是社会和人性中废墟的部分,自天而降的同情和善行并不是它真正的天使。废墟自身有它足够的重生能量。
Not long ago, Beijing’s Daxing District used to be filled with landfills out of which neighboring scavengers eked a living. With the tumor-like spread of skyscrapers and subway stations in Beijing’s recent urban development, the landfills have been filled, and the bright lights of the city shine upon them. Only one wobbly little shack still stands against the winds of change. This film documents one stormy year in the lives of its inhabitants.
5. 一种孤独 (Some Sort of Loneliness)/ 吴漫Jenny Wu Man/中国/2012/14min/剧情片
宇和军是一对多年的恋人。他们之间一直有另一个男人的介入。出于爱或者是好奇,军跟踪宇来到一个酒吧。在这里他见到了那个男人。一个夜晚的跟踪和邂逅使三个男人心中的同一种孤独演化为同一种爱。
Yu and Jun were in love for years. Their relationship interfered by another man from time to time. For love or just curiosity, Jun followed Yu to a bar. There he fell for this other man.
One night of stalking made the loneliness of three men became one sort of love.
四、岛之贝▪台湾新锐导演专题 Effervescence ▪ Taiwan's New Wave
1. 纵行囝仔 (Trekking the Way Home)/ 陈惠美/台湾/2013/99min/纪录片
《纵行囝仔》是一部帮家庭功能失调的青少年一起「找家」的纪录片。这群孩子在成长的过程中,曾经被最亲密的家人所伤害、被制式的教育体系所遗弃、被社会眼光所否定。长大这条路,他们走的比平常人来的迂回艰辛。这一次,这些孩子将共同经历一段不一样的旅程:第九届共生营小勇士将挑战中央山脉北一段7天大纵走,以及来自弱势背景的向日葵少女将前往绿岛突破五十米大垂降。藉由在大自然的疗愈力量下与团队的鼓励陪同里,这些孩子找回那失去许久归属感。他们的改变,即将被看见!
“Trekking the Way Home” is a documentary film telling the story of teenagers with troubled backgrounds searching for a home. On the road to adulthood, these teenagers have been harmed by their closest family members, abandoned by the education system, and ignored by society. But now these adolescents will walk a different road: in a seven-day hike they will challenge the Central Mountain Range. Amidst the power of nature and with the support of friends, these teenagers rediscover the sense of belonging that had long ago vanished.
2. 超越爱 (Transcending Love)/ 陈惠美/台湾/2012//92min/纪录片
现代妇女基金会邀请13位性别暴力受害幸存者完成一项不可能的任务:攀登台湾百岳,一个以冒险治疗做为赋权受害者的全新尝试。受暴妇女透过最初的课程开始彼此熟识、信任,也说出了自己不堪回首的故事。一位是开朗的中国配偶,一位是年轻的早餐店老板娘,以及时髦的中年妈妈,难以承受的伤痕包裹在坚强的外表下,一字一句地使人落泪。慢慢地,心酸的泪痕被温暖的泪水重新覆盖。背负着家人、孩子以及自己生命的重量,一步步爬上台湾最接近天空的地方,她们想知道,自己的生命之花,是否也能在3886公尺的高山上盛开绽放!
The Modern Women’s Foundation invited 13 female survivors of domestic violence to complete an impossible task: scale Taiwan’s 100 tallest mountains in an attempt to restore these women’s faith in their ability to face the risks of life. During this experience, these women come to know and trust each other and begin to share their tragedies with each other that they had dared not face alone. Waitresses and fashionable housewives slowly release the trauma they had long kept wrapped inside themselves. Tears begin to flow, healing hearts, as they let go of their pain one sentence at a time. Carrying the weight of their family, their children, and their own lives, these women climb ever nearer toward heaven, wondering if the flower of their own lives can also bloom at 3886 meters.
3. 墨魂 (Inky Soul)/ 陈惠美/台湾/2012/78min/纪录片
国际刺青大师杨金祥自小失去右手,但并未因此丧志,反而以一只手臂不断超越自我,刺青成就终获国际肯定与尊敬。片中唯一的女刺青师-高嘉华,一个来自台北的小女生,勇敢地只身前往高雄拜艺,成为杨金祥的爱徒,在雄性气味浓厚的刺青世界里闯出一片纤细。陈世勇的爱女陈欣慧,自小立志成为一位刺青师,陈世勇要将毕生绝学传承给她,台湾第一个刺青世家指日可待。
International tattoo master Yang Jinxiang lost his right hand at an early age, but he never lost hope, instead using one hand to continually surpass his own wildest dreams to become an internationally respected tattoo artist. The only female tattoo artist in the film, Gao Jiahua, bravely travels from Taibei to Gaoxiong to pursue her art. In Gaoxiong she becomes Yang Jinxiang’s loving disciple, carving out a niche for herself in a male-dominated industry. Chen Shiyong’s beloved daughter Chen Xinhui has wanted to become a tattoo artist for as long as she could remember, and her father—himself an accomplished tattoo artist—has always wanted to pass his knowledge on to her and establish Taiwan’s first tattoo dynasty.
4. 当家花旦 (Prima Donna)/ 陈惠美、陈怡妤/台湾/2013/ 94min/纪录片
白雪综艺剧团,由四个热爱表演艺术的男人成立,其独树一格的扮装表演方式,奠定了他们在台湾剧团界的独特性与不可取代性。为了庆祝白雪创团15周年,团长同时也是白雪的灵魂人物松田丸子,准备为观众带来一场集结剧团所有精华的华丽视觉飨宴! 投入「雪后狂风」的制作过程,四个大男孩彷佛搭上时光机,细数15年的点滴回忆---从大学时期学校创举的扮装选美,开启了与白雪的不解之缘。在台湾剧团界没有人专做扮装,因为他们扮装比原貌更受欢迎,所以他们承受着可能带来的异样眼光跟评价去实践;因为观众喜欢,让他们有信心继续;他们享受舞台,渴望掌声;他们的演出让许多人有了出口,看到希望,白雪不仅是圆梦的历程,更是坚持做自己的信念。
The Baixue Theater Troupe, established by four men passionate for performance, have developed a reputation in Taiwan as unique and irreplaceable performers through their inventive use of makeup in performance. To celebrate the 15th anniversary of this troupe, troupe captain Song Tian has prepared a visual feast showcasing the troupe’s most beloved acts. These performers will reminisce on their 15-year relationship with snow, beginning with the pioneering makeup techniques they developed for a college beauty contest. In a theater industry where the use of makeup was shunned, these performers practiced their craft amidst stares and judgment. The affectionate response from audiences, the applause, and their ability to provide release for viewers gave these performers the faith to continue. This film is not only a tale of accomplishing dreams but of enduring in believing in yourself.
五、沙之影▪香舍丽法国专题 Florescence ▪ Les Champs Elysées
1. 35杯朗姆酒 (35 Rhums/ 35 Shots of Rum)/ 克莱尔·丹尼斯Claire Denis/法国/2008/100min/剧情片
莱昂内尔开着列车重复着从巴黎的一端穿越到另一端的旅程,延伸的铁轨和不断前行的列车推进着整个故事。莱昂内尔和其女儿约瑟玢朝夕相处的生活点滴赋予了整个电影父女情深的温情基调。但这个温馨的背景下,不可逆转的时间潮流要求父女二人的分离,女大要出嫁,而且约瑟玢可能嫁给住在他们楼上一层,常常不见踪影,名叫诺诶的年轻人。
This film tells the story of Lionel, who travels back and forth through Paris on the train, a story in which the tracks extending before and the endless motion of the train propel the story interminably forward. Lionel and his daughter Josephine’s tender relationship and close contact add warmth to this film, but against the background of this tender relationship is the train—and time—endlessly hurtling toward their separation. Soon Josephine will marry a young man and rarely have the opportunity to see her father again.
2. 影舞者马德 (Vers Mathilde/Towards Mathilde)/克莱尔·丹尼斯Claire Denis/法国/2005/84min/纪录片
“影舞者马德”是两个女人之间的静默相遇。克莱尔•丹尼斯是一位导演,她近距离拍摄身体和身体语言。马德•莫涅是一位编舞家,她试图通过身体的舞动,寻求超越舞蹈形式之外的人生天地。
这是两人之间深入而又私密的一种合作,同时也表达了导演克莱尔•丹尼斯把肢体动作当作谜题不断求解的执念:“我想要抓住当身体运动时发生了什么;我想要捕捉处于进行时的工作”。
“Vers Mathilde” tells the story of a silent encounter between two women. Claire Denis, a director, strives to capture the language of the body through her film. Mathilde, a dancer, strives to surpass the constraints of the art form through her dance.
This film tells the tale of these two artists’ deep and intimate partnership as well as reflects the director’s ability to solve the puzzle of the language of the body in motion. “I want to capture what happens when the body moves. I want to seize the work in its very execution.”
3. 我孩子们的爸爸 (Le Père de mes enfants)/米娅·汉森-洛夫Mia Hansen-Løve/法国,德国/2009/110min/正剧
格里高里•卡万生活美满,有他深爱的妻子,三个可爱的孩子,还有他热爱的工作:电影制片。他生活的意义就是发掘演员、制作自己喜欢的电影、过着自由的生活。他精力旺盛,工作从不停止,除了周末去乡下陪着家人 ,度过珍贵而短暂的温馨时刻。他看起来好像不可战胜,其实他的制片公司举步维艰。电影制作过多,风险重重,债台高筑。但格里高里还是要不惜一切代价继续坚持。终于有一天不得不面对现实,失败这个词突然出现,灰心 最后变成了绝望。
Grégoire Canvel has it all. A wife he loves, three delightful children, a job he's passionate about. He's a film producer. Hyperactive, he never stops, except at the weekends which he spends in the countryside with his family. He seems invincible. However, his prestigious production company is on the rocks. One day, he is forced to face reality. One word arises: failure. And a great weariness, which will soon, secretly, manifest itself in despair.
4. 胜利终点金沙萨 (Victoire Terminus)/ BARRET Renaud, de la TULLAYE Florent/法国/2007/80min/纪录片
在刚果(金)的首都金沙萨,妇女们挣扎度日。在这里,找到工作是一件壮举,领到工资则是奇迹。在这样一个国家,女性被迫登上拳击台以维持生计。自从1974年备受瞩目的阿里和福尔曼两个拳击手之间的对决之后,金沙萨成了拳击之城,首先是男性拳击盛行,随着1995年一个俱乐部的建立,女性拳击时代到来。米米,雅奈特和依莲娜是19岁到26岁的女孩子,同时也是拳击手......并多多少少扮演了这个男权社会中反抗者的角色。每天,她们在教练莒戴斯的指导下,在一个运动场的地下室训练。故事的背景是,临近2006年7月刚果(金)第一次自由选举而处于沸腾状态的首都金沙萨。
In Kinshasa, the capital of the Congo, women struggle to scratch out a living. Here, finding any work is an accomplishment and a stable salary is a miracle. In such a country, many women are forced to enter the boxing ring in order to maintain their livelihood. Ever since the 1974 fight between Ali and Foreman, Kinshasa has become a boxing city, with women’s boxing beginning in 1995. This film’s three protagonists are 19 to 26-year-old girls who are also boxers and rebels in a boxing world dominated by males. They train daily with their coach in the basement of a gymnasium. This film takes place in the summer of 2006, where agitation over Congo’s first free election reaches a boiling point in Kinshasa.